[Red Hands: A Curse for Thieves by therootwitch (deactivated)]
Excerpt:
This spell can go 1 of 2 ways: to return an item that has been stolen, or to curse the one who stole it if you know you won’t be getting it back.
In many spells I've encountered, the color red is used to align the working to the energies of Fire and Mars - it invokes force, aggression, and passion (often of the sexual sort). It's the color of blood spilled - a very powerful and attention-grabbing color for sure. So it finds much use in more aggressive protection spells, cursing, curse-breaking, bindings, lust spells, and the like.
The spell I chose is no different in that regard. It's a curse for thieves, so it fits the usual Mars uses. But what what caught my attention was how the color red was used in the spell.
The name "Red Hands" immediately brings to mind the idiom "caught red-handed", ie being seen in the midst of doing the (often criminal) act. While the spell's goal isn't to catch criminals as they are performing a crime, it is using this cultural connection and image to curse a criminal, the thief, using chili powder, red paint and a hand-shaped object.
Part of the spell includes speaking out some words, which I'll copy a portion of:
Thief, thief! You burn with guilt.
You are red with shame.
From the spoken words, two more imagery using red are given. The first is "burning with guilt". Red is related to fire, which in turn is related to a negative emotion that, like fire, "eats" one up from the inside. Mixing in chili powder to red paint reinforces this emotional/symbolic burning with the physical sensation of it. The second is "red with shame". Shame is another emotion that can "eat" one up from the inside, like a fire hollowing one out. Flushing red is a common reaction to strong emotions, such as embarrassment or anger. To continue the fire metaphor, things like coals can become "red-hot" from the heat of a fire. The red paint stains the thief's hands for all to see. So apart from just making the thief feel strong guilt and shame, the spell is also makes the thief's discomfort and suffering visible to other people, fulfilling the idiom the spell is named for.
I just find it a very creative spell overall, using both wordplay (which I love in general), and cultural things that are often overlooked in spell crafting.
@asksecularwitch Thanks! I'll check out this text some time - see how similar it is to Sir Perez's chess spells, and maybe get some ideas on spells that slowly move through a period of time. Definitely won't be using candles for those tho
(Skipping "Tape" for now as I can't seem to find a spell that actually incorporates tape as a part of it, and not just as a quick adhesive)
@asksecularwitch
I'll just go ahead and link to what the author refers to as a "cyberspace book" that outlines an entire method of using a chessboard in all kinds of spells:
Magic for Squares by Tony Perez
To summarize the setup:
The chessboard is placed as a diamond, with the four corners pointing at the four cardinal directions (black tiles pointed at the north-south axis). The center four squares are the "starting point", where the pieces selected for the spell (or other relevant objects) are placed. On the corners are the unused chess pieces, still grouped according to their color (black occupying north and west), acting as Witnesses to the scene unfolding at the center.
The arrangement is then charged by placing items symbolic to the elements in their places along the four cardinal corners, and then vibrating their names. The book uses "Integra (N - earth), Renevator (E - air), Igne (S - fire), Natura (W - water)". The same can then be done to "reset" the board to a neutral state.
To use the magical chessboard, the relevant chess pieces and other props are placed at the central square of the board, and arranged in ways that reflect the spell's goals. The author provides several different arrangement ideas, such as elevating chess pieces, making figures face each other or away from each other, and even interacting with them as if they are the person they represent.
A chessboard is a very interesting choice of tool - the first thing it reminds me of is that characterization trope where a character is shown to be good at chess to signify that they're Smart(tm) and/or Manipulative(tm). Using a chessboard as the... setting? of a spell places the caster as the chess master of the situation, manipulating its pieces to suit their goals. As the author is a playwright, and has mentioned their experiences in stage-blocking as an inspiration for this method, playing chess master may not be far-off.
With the addition of the elements and cardinal points though, it seems that the chessboard is acting similarly to a specific kind of altar, or even a circle...? I don't think I have the vocabulary for this lol. It's not something I use, but I see whole rituals of setting up an altar and calling the four elements from the four cardinal points and leaving the ritual objects inside it a lot, and the way the chessboard utilizes the elements and the Witnesses give me the same impression.
I quite like the idea of using the center cross, the point where the two opposing sides meet, as the focal point. I think it's similar to the idea of using the crossroads or a liminal space as a location of power, to make changing the direction of things easier.
The charging and resetting of the chessboard is an interesting bit - the author uses an alternative meaning for INRI. As the Philippines is mainly Roman Catholic, it makes sense that magic practicioners here find power in Catholic Christian imagery and verses - the number 3, Catholic saints, and Catholic holidays feature a lot in local magic beliefs. Google tells me that the "igne natura renovatur integra" meaning allegedly came from the Rosicrucians, and translates to "by fire, nature renews itself". It's a very fitting phrase to use when you're changing the nature and function of a chessboard from a board game to a magical tool.
My Latin isn't Latin-ing well, so I don't have much of an opinion on the translation and the assignation of the words to the elements. I do know that assignment of cardinal directions to the elements varies by tradition, but not enough to know why the difference in what seems to be closely related / commonly syncretized traditions exists.
As for the chess pieces themselves, the author assigns the white pieces as Yang, and its King and Queen pieces as a 'protagonists' (the playwright influences coming in), while the black pieces are Yin, and its King and Queen are the 'antagonists'. Personally, this seems unnecessarily gendered (and perhaps has some unfortunate implications regarding the colors), but it seems the author works with a system that treats "male" and "female" objects differently .(I'm not quite sure why yang is the Default Protagonist here, though.) Following the yin-yang associations, the white pieces are also used to attract influences, while the black pieces repel them.
In general, while I am really interested in the basic idea of the spell method - and anything that can easily masquerade as mundane objects and actions are of great interest to me - the creator of the chessboard spell uses systems that I don't follow and don't fully understand yet. I like the idea of using the whole board as a 'stage' of sorts, of having the pieces to 'witness' my plans unfold (something something about it's not real until you have someone/something see it happen), and using the center of a chessboard as a magical focal point. But other than that, I would completely rework the method he presented, relying on how I personally perceive the concept of chess instead of his playwright's perspective and the whole elements and yin-yang system.
Itens: A paper. Black or red ink. Pen. Write the name of the person you want to curse (can be in any language, preferably japanese.) After that, rewrite her name on the sheet of paper, but with the first letter of her name with this kanji (呪) which means "curse" in Japanese. Rewrite her name by replacing the letters in her name with this kanji. Do this until their entire name contains this kanji (the person's name will literally be "curse" in japanese.) Fill in the rest of the paper with black or red ink. Burn the paper.
I couldn't find much that did anything more than 'write with pen' or 'consecrate this pen' (usually through some combination of spoken charm / candle flame / deity / elements). Nothing wrong with those, I just can't find a specific thing about them to talk about.
The spell reminds me of reductive and increasing written charms, such as the ABRACADABRA charm for reducing fevers. Or two particular charms in Valerie Worth's Crone's Book of Magical Words. In one charm for increasing power, a syllable of a barbarous word is whispered, then additional syllables are other as it's spoken louder and louder, until the word is shouted once it's completed. The second, which diminishes another's power, the reverse is done. The full word is spoken normally, then diminished both in volume and syllable to diminish power.
The concept of 'diminishing' someone or something by slowly reducing their name works by aligning their name to the whole person or thing. And this spell works similarly, except instead of just reducing the name, it is slowly replaced with 'curse', until their whole being has been overrun by the curse. Simple, straightforward, but pretty creative and has vivid visuals.
Red ink stands out - it reminds me of both being judged for mistakes (eg quiz corrections) and of blood, making it a good color for this use. Black seems to just be a generic ink color - as far as I know, black generally doesn't have associations with death or misfortune in Japanese culture, which I assume is what the spell is borrowing from, given the use of Japanese kanji and the suggestion to rewrite the target's name in a Japanese alphabet. But as far as I know red doesn't, either, so that means I probably need to learn more about Japanese culture and folklore.
The spell might have a stronger imagery when used with Japanese names. Those can be written in kanji, and each kanji can represent a whole word by itself. This spell would be replacing not just the letters or sounds of a name, but the very meaning behind it.
While I love the image and the concept behind the spell... I find the instructions a bit vague. Are the pen and ink supposed to be different implements, or can we just use the ink inside the pen for everything, including filling the entire paper for the last part? Because... I can see using two different inks in both red and black. One - let's say the black ink, because it's an everyday mundane color - to write the name and its normal characters, and the other to write 'curse' and cover the paper. And I really like that step if one ink is to be the 'curse' - not only is the target buried underneath by the curse, the curse has also steeped into everything around them, giving them no escape.
Burning the paper in the end I suppose just 'releases' the spell out into the world. And doubles as a way to dispose of evidence that the target has been cursed.
Some adjustments I could make to the spell:
The two-color thing mentioned above.
Enchanting the ink used to cover the paper to further match the specific kind of curse I want to cast.
Creating my own cursing ink.
Using paper that the target owns or has written on.
Starting with a name that the target has written themselves.
Creating my own enchanted/cursed paper.
Using a different symbol for 'curse' instead of the Japanese kanji.
Starting not at the first letter but at the center, especially if the target is a group or organization, to "split" them apart.
Not burning the paper and instead leaving it somewhere close to the target.
Not burning the paper, and instead drowning it in a bottle of the enchanted ink used.
Sprinkling the ashes on the target's belongings.
And also: using the same template not to curse, but instead make something grow inside the target by replacing the 'curse' symbol with a symbol of what I want to grow. Instead of covering it with ink, I'll cover the remaining spaces with it with relevant symbols and images, then "plant" the resulting paper somewhere.
Also, the site says the spell was uploaded in December 2022, but I'm very sure I've read this spell long before that. So it's either a repost, or an actual spell/urban legend that has been floating around the internet for a while.
Figured I could do the @2024-grimoire-challenge more consistently if I answer the prompts in batches instead of daily.
Preparatory Work
Notebooks
I already have a planner-journal for messy notes, dream journaling, and personal insights, a pile of loose paper for research notes and organizing them, and a dedicated logbook for keeping track of arcane shenanigans. I'll be answering most of the prompts on my personal journal. Research-related ones will go to my research pile.
List of 52 herbs to study
Skipping for now. I already have a good number of botanicals researched for both mundane and magical use. May instead post my research notes on whatever new plant I come across that interests me.
List of 52 crystals to study
Definitely skipping. I don't use crystals enough to make a deep dive worth it. I already did my research on the ones I own, and currently have no plans to collect crystals for magical purposes. May or may not replace this with a random topic deep dive.
Grimoire
Naming the Book
I already do name my magical tools, even my journals! In my personal craft, names hold immense power, so the act of naming is itself some sort of consecration and empowering ritual. Considering their importance, I will be keeping these names private.
Outline/Index Pages
My arcane logbook has one, as it's the only one that will actually benefit a lot from it. The rest of my notebooks (including the pile) run mainly on tabs.
Definitions
Ritual
Any action or set of actions with a symbolic, cultural, and/or emotional significance typically done on specified events.
Spell
An act of magic done to achieve a specified purpose, usually to enact a change in the world according to the caster's will through symbolic gestures.
Personal Practice
Spell Writing
A spell is itself a tool that creates another tool specific to a predefined purpose. My approach to writing spells is very similar to problem-solving in general, and is very loose.
Identify a problem and its causes. If there's currently no direct problem, then I find a goal to achieve.
Identify the best or most feasible method to achieve the goal.
Survey available resources. Adjust goal and method if needed.
I don't adhere to a particular format, but in general, a spell for me consists of:
A source of energy or power
A way to color, filter, alter, move, or interact in any way with that power
An anchor or a physical vessel for the spell
Some examples of a power would be myself, a fire, physical movement (dance, wind, song), spirits, the materials themselves, celestial influence, cultural significance, and emotion. Interacting with that power may utilize divination, spirit communication, prayer, visualization techniques, meditation techniques, physical gestures, tools such as wands and knives, and so on. The anchor is not required, but it's useful for maintaining and dismantling spells, and I personally just like creating something physical for the spell to hold on to.
Common Tools
Paper, to hold names, words, sigils, and even material and immaterial influences. A blank canvas full of potential.
Any writing tool. A regular writing pen or pencil works, but brush and dip pens are great for working with specialized, magical inks. Toothpicks for writing on candles, cotton buds for harsher liquids such as alcohol and oil, chalk for most non-paper surfaces. Even a finger would do. A tool of creation and direction.
A tarot deck, sometimes a normal deck of playing cards, both a divination and a spell tool.
Candles - white tealights, mostly - to carry light or flame, act as a power, be a source of wax, or be a way to suffuse scent. Scented candles especially are reserved for offerings.
A tea cup, to hold water - and metaphorically 'hold' things that the hands can't. Cups are good for small things that don't need much heating. For anything that needs to be hotter than boiling water, I use the pot. Pair with a strainer to filter out unwanted things. Lidded containers for storage.
Washi tape, which makes hiding magic in plain sight easier.
Scissors for snipping plants, paper, thread, and connections.
Miniature, pen-sized broom used for quick cleansings and asperging.
Music, both to mask the sounds of spell casting and to define a space away from the mundane.
I should experiment with things like bookmarks and keys, and the tea plant stave I have currently just standing around the living room.
Calendar
The solstices mark very significant events in my life, so I like to honor those dates yearly.
Equinoxes mark a subtle but notable shift in the day cycles, so while they have no symbolic or cultural significance at the moment, I just like to track them.
Epagomenal days, ie the last 5 days of the year. Calculating when exactly they land is tricky so I just synchronized it with the usual calendar.
New years - lunar and Gregorian.
Fruiting and flowering seasons of mango, rambutan, kalachuchi (frangipani), and the cotton tree. Mostly because they're common in the area, but also because seeing them fruit and bloom gives me a lot of joy.
I'd like to add more specific dates, but they have more to do with local weather changes, which have lately been weird because of climate change.
Altar Design & Workspace
I do not have a set altar or workspace! If I need to perform a spell, I do it on the spot, using whatever flat surface is available if it is needed. Usually, that flat space is either a desk table or the dining table.a
What I do have is a spread in a notebook (one that opens flat) decorated and dedicated to specific deities, and I use that to better communicate with them every now and then.
everyone and their cousin has an adobo-inspired spell/component, but what about other iconic filipino dishes?
arroz caldo-inspired powder for strength, energy, health, healing, and vitality. (rice grains, ginger, safflower, pepper, kalamansi rinds, garlic, eggshell)
sinigang-inspired powder for heavy-duty empowerment.
tinola?? kare-kare??
come on, let's use our local components! kalamansi, malunggay, pandan, tanglad, sampalok, santol, guava. sourness, not as spoilage but as a component that elevates and brings together, or adds a certain zing. sampaguita and ilang, not for "love" but as a bridge between the physical and the spiritual - to the dead and the divine.
From Witches' Potions and Spells by Kathryn Paulsen
I am stretching the definition of "draw" quite a bit to make this one fit - since an arrow is shot from a bow in the spell, the bowstring has to be "drawn" at some point.
I am also aware that this can be a coercive love spell. This is not an endorsement for it or a preaching against it. That is a very different conversation, and it's not the one I'll be having here.
The spell seems fairly straightforward. The figure becomes the target through sympathetic magic. The connection could be strengthened by incorporating the parts of the target like their hair, fingernails, by naming them the same, by dressing the figure up in clothes they wore and perspired in, etc.
The heart is usually considered as the seat of emotions and a symbol for all sorts of love, so it's a good target as any. If there's a different kind of emotion being pursued here, the mark could be moved somewhere else. From what I know, the liver and the guts were also considered the seat of emotions and reason. The crotch area could inspire lust, while targeting the head could cause obsession.
Using a bow and arrow to dominate or capture that target reminds me of both Cupid and his arrows, and of a hunter in pursuit of a prey. The spell places you in the role of either of them and gives you the power to assert your desires over the target.
The interesting part here is that there are not much limitations to the spell. You could craft an incredibly large figure to make aiming easier. You could shoot from a short distance. You could use more than one arrow and shoot several times until one eventually hits.
I may be overthinking it, and these are mostly baseless, but this gives me the impression that there are more layers to this spell, like it's not just about coercing love. It could be part of some love divination, similar to the flower petals one ("they love me, they love me not"), or perhaps some method to choose between different suitors.
It could even be some old witch's cunning trick. For example, there's one love spell I read some time ago that instructs the person to give their target an enchanted apple repeatedly until the target reciprocates their feelings. And consistently meeting up with a person, creating more opportunities to talk and get to know each other? All while giving them food? That's just normal socializing, and potentially a courting. Even without magic, doing that can lead to the other person feeling fond of you.
Perhaps the real aim of this love spell was to convince someone to practice their archery or sculpting, and it's their skill that impresses their target and generates affection.
From Crone's Book of Charms & Spells by Valerie Worth
Instead of simply increasing one's beauty as its title says, the spell seems be more about transforming and changing into a more elevated version of the self. Increasing an attribute, and transforming into something that has more of that attribute, are two very different things for me. Big enough of a difference for me to say that I will not be using this spell if I wanted more beauty - personally, I don't believe that this level of change is needed to achieve beauty (unless it's an 'inner beauty' that needs to shine outwards) - and will instead be using it as a template to create a spell for deeper kinds of changes.
So the spell begins with finding an insect shell - a physical remnant of a molting, therefore an object that can bestow transformation - in a specific condition. First, it has to be found whole, and more importantly, kept whole until the next steps of the spell. Since the shell represents the parts of the self that is to be discarded, its wholeness is vital for making that discarding complete and total. Second, it has to be found clinging to a tree. I am unsure of the importance of this - maybe it's just to ensure that no parts of it has broken off if it had fallen at some point.
I'm guessing that cicadas and locusts were used because both are common, leave behind molts, and are generally not considered 'gross' to interact with. Cicadas have the bonus of being a symbol of rebirth, since the change between the shell and the newly molted insect is drastic. Though, a locust is just a grasshopper that has changed appearance and has become more aggressive, so I'd probably avoid using them in this spell unless becoming more aggressive is my goal somehow. I have heard that it's common to mix up the names for these two insects though.
Next, a golden candle is set behind a brass bowl. Normally, I only bother with candle colors when I have use for the wax, but in this spell, not only does the candle imparts its color to the fire - turning it golden, as the chant calls the fire - later on, its wax is mixed into the ashes of what it has burnt. A discarded object is destroyed by a golden fire, then made golden by the wax. So gold is a very important concept in this spell. It's an expensive precious metal, used in jewelry and as a symbol of status, wealth, and power. Wars have been fought over it. Not only is it generally considered beautiful, it's a very coveted, luxurious, and exclusive kind of beauty. As a color, it's a shiny, metallic one that gleams and stands out even in the dark. That's the kind of beauty I see this spell reaching for. Additionally, gold brings to mind the endeavors of old alchemist to transform lesser materials into gold, bringing us back to the theme of changes. While I don't believe 'gold' can be substituted in this beauty spell (and that the golden candle is VITAL to it), it does not have to be the actual metal. The brass bowl here, as far as I can tell, is used because it's a flame-safe container that looks like gold, and is so much more accessible than the actual material. Any other gold-colored flame-safe containers should do.
As scent plays a role later in the spell, I understand the need to use something as powerful and long-lasting as essential oils. However, those are expensive, and the spell asks for five different essential oils. I do not see why it has to be essential oils specifically - since scent is the most important factor, then fragrance oils and/or a perfume that resembles the combination should suffice. If the presence of the botanicals themselves is what's needed, then adding in the actual plant parts, either fresh or dried, should do.
The required essential oils seem to form a very sensual, heady, and feminine fragrance. This, I think, limits the beauty the spell creates to a very feminine kind of beauty that inspires romantic and sensual attraction, which may not be for everyone. It certainly isn't for me. I certainly would swap out most of those botanicals, perhaps to other flowers that signify beauty, and to flowers I personally find beautiful or symbolic of the beauty I wish to have. Or perhaps just use a perfume that embodies the beauty I want.
Additionally, cultural differences greatly change what most of the spell's scents mean for me. Jasmine and ylang-ylang leis adorn crucifixes and other Catholic images as offerings. Jasmine and rose, on the other hand, conjure images of feasts celebrating the Virgin Mother Mary. Jasmine itself, though mixed with cultural pride, signal the presence of the dead, while tuberose/azucena invite death and misfortune. The scent of gardenia, for some reason, only comes off as superficial to me. Those aren't exactly things I want to include in a beauty spell.
So now the golden fire burns the shell to ash, but the scent remains, essentially transforming the old self into what the scents represent. There might be some problems encountered in this step, if the essential oils were substituted, but some alcohol (or even better, alcohol infused with the botanicals) should help with the ignition. Fire, to me, is deeply symbolic not just for destruction, but for irreversible transformations, though I know others think the two things are the same. I think of combustion, carbonization, and charring as chemical reactions with usable products, akin to cooking and caramelization, and that not even ash is a waste.
A verse is spoken as it burns - and though it's pretty much just a summary of the mechanisms of the spell, I have a lot to say about it, mostly disagreement on its core principles. The insect shell is called "evil" and "foul", and even if it's a discarded molt, I do NOT like calling it evil, even just for the spell. It's not foul for coming from an insect, and it's not evil for having served its purpose and discarded. And if that insect shell represents me, the caster, then I definitely do not want to call my old self foul and evil just because it's not what I want or because it's not beautiful enough. Morals have no bearing on this spell.
Then there's "old" lumped in with "evil", transformed to "new" and "fair". "Fairness" nowadays refers to the lightness of skin complexion, and it should not be a standard for beauty, as that would imply that there are skin colors (and therefore races and cultures) that are simply 'better', or that darker complexions are not beautiful. "Old" may simply be referring to the past (and I already expressed my disagreement with calling it 'evil'), but as current beauty standards hold youthfulness in high regard, it's hard not to connect it to age. Youth has no correlation to beauty, if not in general then at the very least to me. Aged appearances have a very elegant, graceful authority about them, and I would rather age well than hide the fact that I've lived in the world.
I will be 100% changing the entirety of the spoken verse.
The wax is mixed into the ashes, turning it golden - I've talked about it above already, I think - then everything is formed into a ball and wrapped in silk. The only magical use of silk I know is to 'hold' magic and keep it from spreading its influence over the area, but that's unlikely the reason for it, since the charm has to affect a mirror. I believe silk is there mostly because it's luxurious and shiny material, much like 'gold'. Silk is also a product of the remnants of another insect transformation, which could be another factor. The spell did not specify a color, but I bet gold would be a great choice if it's available.
The repetition of the chant and the wafting of the scent reinforces the spell, and lets work over a period of time instead of just being a one-shot kind of spell or a charm with passive influence.
